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Excerpt from the Metropolitan Museum Catalog 
of the Bellows Memorial Exhibition 


In organizing a memorial exhibition of the works of 
George Bellows, the Trustees of the Museum have wished 
to do honor to an American artist of high distinction and 
unusual versatility, whose powers were just reaching 
their full maturity when he died, although they had 
already received wide recognition. 

For the Trustees, 
EDWARD ROBINSON, 
Director. 


New York, N. Y., September 25, 1925. 
‘e 


NOTE: Artists who have been SU honored by 

the Metropolitan Museum of Art: 
JAMES MCNEILL WHISTLER. 
WINSLOW HOMER. 
WILLIAM M. CHASE. 
THOMAS EAKINS. 
ALBERT P. RYDER. 
ABBOTT THAYER, 
GEORGE FULLER. 
F. E,.CHURCH. 
J. ALDEN WEIR. 


ACKNOWLEDGMENT 


The Academy gratefully acknowledges its indebtedness 
to the following persons, whose generosity made it pos- 
sible to illustrate the variety of the artist’s interests so 
fully: 

Mrs. GEORGE BELLOWS. 

Mrs. CHARLES W. GOODYEAR. 
ANSON C. GOODYEAR. 

PETER GLICK. 

ROBERT HENRI. 

F. R. HUNTINGTON. 
ADOLPH LEWISOHN. 

HowarpD B. MONETT. 
ROBERT TREAT PAINE, 2ND. 
CHARLES WETHERILL MACDUFF SMITH. 
EUGENE SPEICHER. 





An intimate study of George Bellows with his two 
children, Anne and Jean, whose portraits 
won for him international fame. 


BIOGRAPHICAL 


George Wesley Bellows 


EORGE WESLEY BELLOWS was born in Colum- 

bus, Ohio, August 12, 1882, the son of George and 

Anna (Smith) Bellows. He was a descendant of 
Benjamin Bellows who migrated from England in 1632 
and founded Bellows Falls, Vermont. 

His father was an architect and builder in Columbus. 
The son attended Ohio State University, graduating from 
there in 1904, and at the same time was a pupil at the 
Columbus Art School. Later he studied under Maratta 
in Chicago. In 1904 he came to New York to study 
drawing and painting under Robert Henri. In 1906 he 
opened a studio in New York and began by exhibiting 
three portraits in that year. In 1908 he exhibited his first 
landscape in the National Academy of Design. It was 
awarded the second Hallgarten prize. He became an 
Associate of the National Academy of Design the next 
year, at the age of twenty-seven, the youngest man ever 
to be elected an Associate. When twenty-seven, he became 
an instructor in life and composition classes at the Art 
Students’ League—in 1910. In 1913 he was elected a 
National Academician. Meantime the Museums had be- 
gun to buy his works. One of his pictures went to the 
Metropolitan, another to the Pennsylvania Academy. 
Prizes and medals were awarded to him with increasing 
frequency, the list of them being a long one. 

On September 23, 1910, he married Emma Louise, the 
daughter of William E. Story of Upper Montclair, New 
Jersey. He had two daughters, Anne and Jean. His 
family life inspired many of his best canvases, whether 
of his mother, father, aunt, wife or children. 

His works were frequently exhibited abroad; in Lon- 
don, Paris, Berlin, Venice and Munich. He is represented 
in numerous Museums and many private galleries. 

He lived, after his marriage in 1910, at 146 East 19th 
Street, in New York. His summers were spent at Monhe- 


6 


BELLOWS MEMORIAL EXHIBITION 











gan, Maine, Ogunquit, Maine, Newport, Rhode Island, 
Camden, Maine, Carmel, California, Santa Fe, New 
Mexico, and Woodstock, New York. He was a member 
of many Art Societies and clubs and had taken a par- 
ticularly active part in the formation and welfare of the 
New Society of Painters. 

He died in New York City on January 8, 1925. 


e 


HIS memorial exhibition is a work of love. It has 

behind it the guiding forces of the intimates who 

were associated with the artist. Silently, but with 
a mute devotion, their efforts have been to show to 
America their idol of artist, goodfellow, husbandman and 
human being. 

Coming into his own at a time when the artistic world 
was in a state of great unrest between the breaking down 
of some unsound, tho established artistic creeds and the 
introduction of many violently. contradictory and untried 
new ones, George Bellows enjoyed a remarkable popu- 
larity in both hostile camps. This can perhaps be ex- 
plained by the fact that in his art he was more conserva- 
tive than the conservatives and at the same time such an 
honest experimenter that all classes of artists found some- 
thing to admire in him. To the sincere student he said: 
“Take a little less proflt and do the thing you want to 
do;” to the illustrator he said: “The story telling picture 
has a legitimate place in art;” to the modernist he 
appeared to be opening new fields of endeavor and yet 
there are qualities in his now famous portrait and figure 
groups that are as sturdy and solid as Velasquez. 

Such was the spirit of George Bellows. How we shall 
miss his honest, sincere and earnest arguments! His eye 
was clear, his hand was sure, but what is much more 
important, he was endowed with a sensitive, well-balanced, 
alert artistic mind. 

This exhibition was planned to honor him on the first 


anniversary of his demise. 
WILLIAM M. HEKKING. 





ELEANOR, JEAN AND ANNA 
(Oil) 


For this painting the artist was awarded the Beck Medal, Pennsylvania 
Academy, Philadelphia, 1922, and Gold Medal, International Exhibition, 
Carnegie Institute of Art, 1922. It was purchased for the Permanent 


Collection with income from the Charles Clifton Fund the following 
year. 


BELLOWS MEMORIAL EXHIBITION 











1 


=I 


CATALOG OF OIL PAINTINGS 


CROSS-EYED BOY, 1906. 

This is the artist’s first portrait. The model was 
Jimmy Flannigan, a newsboy and brother of 
“Paddy,” whose portrait Mr. Bellows subsequently 
painted. It was in 1906 that Mr. Bellows opened 
in New York his first studio and exhibited his first 
canvas. This was nearly three years after he had 
left Ohio State University and arrived in New 
York to study under Robert Henri. ‘“Cross-Eyed 
Boy,” was painted in New York during the sum- 
mer of 1906. H. 20; W. 16 inches. 


Lent by Mrs. George Bellows. 


FORTY-TWO KIDS, 1907. 
The first painting to be sold by the artist, four 
years after he began the study of art. Painted in 
New York, the East River; summer. H. 42; W. 60 


inches. 
Lent by Peter Glick. 


WARSHIPS ON THE HUDSON, 1909. 
Painted in New York, Riverside Drive; autumn. 
First Prize, Newport Art Association, 1918. H. 
30; W. 38 inches. 


BLUE SNOW; THE BATTERY, 1910. 
Painted in New York, Battery Park; winter. H. 
34; W. 44 inches. 


NEW YORK, 1911. 
Painted in New York, Fifth Avenue, Broadway and 
23rd Street; winter. H. 42; W. 38 inches. 


EVENING SWELL, 1911. 
Painted in New York from a smaller painting 
made during the previous summer on the Island of 
Monhegan, Maine. H. 30; W. 388 inches. 


THE CIRCUS, 1912: 

Painted in New York; summer; from _ sketches 
made at a “Society” Circus at Montclair, New Jer- 
sey. Received Honorable Mention, Carnegie In- 
stitute, 1913. H. 34; W. 44 inches. 

Lent by Robert Treat Paine, 2nd. 

APPROACH TO THE BRIDGE AT NIGHT, 1913. 
Painted in New York; summer. Sketched from 
the Third Avenue Elevated Station at Canal Street 
late at night while the Manhattan Bridge was still 
under construction. H. 34; W. 44 inches. 


2 


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10 


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12. 


13. 


14, 


15. 


16. 


IFS 


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BELLOWS MEMORIAL EXHIBITION 





EASTER SNOW, 1915. 
Painted in New York, Riverside Drive; Easter 


Sunday. H. 34; W. 44 inches. 
Lent by Mrs. Charles W. Goodyear. 


. CREHAVEN, 1917. 


Painted in New York; winter; from a small paint- 
ing previously made on the Island of Crehaven, 
Maine. H. 30; W. 44 inches. 
Lent by Charles Wetherill MacDuff Smith. 
EDITH CAVELL, 1918. 
Painted in Newport, Rhode Island; autumn. H. 
45; W. 63 inches. 


THE STUDIO, 1919. 

The artist’s studio at 146 East 19th Street, New 
York. <A portrait of the artist himself, his wife 
posing; his daughters (Anne and Jean) playing 
on the floor; his mother-in-law and the maid at the 
telephone; the printer printing lithographs on the 
floor above. Painted in New York; winter. H. 48; 
W. 38 inches. 


ON THE PORCH, 1919. 
Painted in Newport, Rhode Island; summer. H. 30; 
W. 44 inches. 


MRS T. IN WINE SILK, 1919. 
Painted in Chicago; winter. The artist spent two 
months in Chicago as an instructor at the Chicago 
Art Institute. H. 48; W. 38 inches, 


SPRING, GRAMERCY PARK, 1920. 
Painted in New York, from a drawing. H. 34; 
W. 44 inches. 


ELEANOR, JEAN AND ANNA, 1920. 
Eleanor is another name for the artist’s Aunt 
Fanny; Jean is his youngest daughter; Anna is 
the artist’s mother. Painted in Woodstock; sum- 
mer. Beck Medal, Pennsylvania Academy, Phila- 
delphia, 1922. First Prize, International Exhibi- 
tion, Carnegie Institute of Art, 1922. H. 59; W. 66 
inches. 
Owned by The Buffalo Fine Arts Academy, Albright Art 
Gallery. 
A BOX; 192), 
Painted in Tuxedo Park; summer. H. 34; W. 30 
inches. 


THE WHITE HORSE, 1922. 
Painted in Woodstock; autumn. H,. 44; W. 34 
inches. 


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BELLOWS MEMORIAL EXHIBITION 











19; 


20. 


21. 


22. 


23. 


24. 


25. 


26. 


21, 


28. 


29. 





INTRODUCING JOHN L. SULLIVAN, 1923. 
Painted in Woodstock, summer; from a lithograph 
of the same subject. Painted on a special paper 
and mounted scientifically. H. 20; W. 20 inches. 


THE CRUCIFIXION, 1923. 
Of this subiect the artist first made a drawing, 
then a lithograph, and finally this painting. Painted 
in Woodstock; autumn. H. 59; W. 65 inches. 


EMMA IN PURPLE DRESS, 1923. 
Portrait of Mrs. Bellows. Painted in Woodstock 


at intervals during a period of three years. H. 63; 
W. 51 inches. 


THE PICNIC, 1924. 
The artist, his family and Eugene Speicher at 
Cooper’s Lake, Woodstock, New York. Painted in 
New York, spring; from a smaller canvas. H. 30; 
W. 44 inches. 

Lent by Adolph Lewisohn. 

DEMPSEY-FIRPO, 1924. 
This subject was first treated as a drawing, then 
as a lithograph, and finally as a painting. It was 
the last of the artist’s six prize-fight pictures. 
Painted in Woodstock; summer. H. 51; W. 63 
inches. 


LADY JEAN, 1924. 


The artist’s younger daughter, Jean. Painted in 
Woodstock; summer. H. 72; W. 36 inches. 


MR. AND MRS. PHILIP WASE, 1924, 
Neighbors of the artist. Painted in Woodstock; 
autumn. H. 51; W. 63 inches. 


JEAN, ANNE AND JOSEPH, 1924. 
The artist’s two daughters, and Joseph Carr. In- 
spired by an earlier painting made at Newport, 
Rhode Island, in 1919. H. 32; W. 40 inches. 


THE PICKET FENCE, 1924. 
The last picture painted by George Bellows. 
Painted in New York, December, from a smaller 
and earlier picture called “The White Fence.” H. 
26; W. 38 inches. 


PORTRAIT OF MY FATHER, 1906. 
Mr. Bellows’ father was an architect and builder 
in Columbus, Ohio. The portrait was painted in 
Columbus, during the Christmas holidays. H. 28; 
W. 22 inches. 
Lent by Howard B. Monett. 


BOILING SURF. 
Lent by F. R. Huntington. 


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BELLOWS MEMORIAL EXHIBITION 





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CATALOG OF DRAWINGS 


STRANGE VISITORS. 
(Illustration for “Men Like Gods.’’) 
“Two stark Apollos stood over the ruins and were 
regarding our Earthlings with an astonishment at 
least as great as they created.” 


LUNCHEON IN THE PARK. 
(One of only two or three water colors by Bellows.) 


THE BOARD WALK. 
(The only drawing in which Bellows used color.) 


THE BOARDING HOUSE. 
(Bellows’ kinship with Daumier appears very 
clearly in this drawing.) 


ALLAN DONN PUTS TO SEA. 
(Used also for a lithograph.) 


THE MODEL. 
(Used also for a lithograph.) 


A VICTORIAN. 
A VICTORIAN. 
GIRL OF 1870. 


YOUNG WIDOW. 
(Four drawings of a costume period in which Bel- 
lows was greatly interested.) 


JEAN. 


ANNA. 
(Studies for the painting, “Eleanor, Jean and 
Anna,” owned by The Buffalo Fine Arts Academy.) 


FAMILY AT TABLE. 
FARM YARD. 
STANDING NUDE. 
RECLINING NUDE. 
NUDE SEATED. 





The drawings and lithographs in this exhibition were 


loaned to the Gallery through the courtesy of Mr. Anson 
C. Goodyear. 


13 


(ydeizoyq'y) 
HOVdE WALNITdS 





14 


GEORGE BELLOWS AS A 
LITHOGRAPHER 


EORGE BELLOWS stands first among American 

lithographers. In all the world perhaps only 

Daumier has been his equal in this medium. As a 
producer of drawings with pen, pencil and brush, he is 
also of the highest rank. He did not begin to produce 
lithographs until 1916, but his first work, “Village Prayer 
Meeting,” proclaimed him a master. In all he made about 
170 lithographs. This exhibition includes examples of 
Bellows’ various subjects and methods of treatment. He 
is satirist, athlete, cartoonist; in nudes and street scenes, 
in masses of intricate design and simple figures, each line 
shows its purpose and necessity. Back of the picture 
itself, back of the thrill of pleasure that we can feel Bel- 
lows had in his perfect control of the pencil, stands the 
great personality of the artist—the keen vision, wise in- 
terpretation, strength and broad charity. 


A. C. GOODYEAR. 


15 


BELLOWS MEMORIAL EXHIBITION 








CATALOG OF LITHOGRAPHS 


18. 
Lo: 
20. 
21. 
22. 
23. 
24. 
25. 
26. 
27, 
28. 
29: 
30. 
ol. 
32. 
30. 
34, 
30. 
36. 
oT. 
38. 
39. 
40. 
41. 


IRISH TOWN. 

IN AN ELEVATOR. 

MRS. WALTER H. RICHTER. 
HUNGRY DAYS. 

STUDY. 

THE OLD RASCAL. 

SKETCH OF ANNE. 

SLUDY: 

INDIAN ATHLETE. 
REDUCING. 

BUSINESS MEN’S CLASS. 
SUNDAY MORNING. 

THE CROWD. 

THREE GIRLS. 
BENEDICTION IN GEORGIA. 
SPLINTER BEACH. 

THE LIFE CLASS. 
SOLITUDE. 

PRELIMINARIES. 

DEMPSEY THROUGH THE ROPES. 
DANCE IN A MAD HOUSE. 
VILLAGE PRAYER MEETING. 
MURDER OF EDITH CAVELL. 
A STAG AT SHARKEY’S. 


16 





